Nielsen SUITE FOR STRING ORCHESTRA

Score

Carl Nielsen SUITE FOR STRYGEORKESTER OPUS 1

THE CARL NIELSEN EDITION THE ROYAL LIBRARY COPENHAGEN

DISTRIBUTION :

EDITION WILHELM HANSEN

C A R L

N I E L S E N

V Æ R K E R W O R K S

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C A R L

N I E L S E N S U I T E

F O R

S T R Y G E O R K E S T E R , O P U S

S U I T E S T R I N G

1

F O R

O R C H E S T R A O P U S

1

Udgivet af Edited by Peter Hauge

Edition Wilhelm Hansen Copenhagen 2001

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The present work is part of THE CARL NIELSEN EDITION, Series II. Instrumental Music. Volume 7 Orchestral parts are available Graphic design Kontrapunkt A/S, Copenhagen Music set in SCORE by Wiener Notensatz, Vienna Text set in Swift Printed by WH-TRYK, Ringsted CN 00009 ISBN 87-598-1010-6 ISMN M-66134-008-9

Distribution Edition Wilhelm Hansen A/S, Bornholmsgade 1, DK-1266 Copenhagen K Translation James Manley © 2001 Carl Nielsen Udgaven, Det Kongelige Bibliotek, København All rights reserved 2001

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I N D H O L D C O N T E N T S

Preface

vii

Forord

Facsimiles

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Faksimiler

S U I T E F O R S T R I NG O RC H E S T R A , O P U S 1

S U I T E F O R S T RYG E O R K E S T E R , O P U S 1

I Prelude

1

I PrĂŚludium

II Intermezzo

4

II Intermezzo

III Finale

15

III Finale

Abbreviations

30

Forkortelser

Critical Commentary

31

Kritisk beretning

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F O R O R D P R E F A C E S U I T E F O R S T R Y G E O R K E S T E R, O P U S 1

S U I T E F O R S T R I N G O R C H E S T R A, O P U S 1

A

fter finishing his studies at the Copenhagen Conserva-

E

fter endt uddannelse på Kjøbenhavns Musikkonservatorium i 1886 begyndte Carl Nielsen at ernære sig som assistent i forskellige orkestre — blandt andet i Tivoli

orkestret — og som lærer i violin og kammermusik. Han valgte

tory (Kjøbenhavns Musikkonservatorium) in 1886, Carl

dog samtidig at fortsætte med kompositionsstudier hos Orla

Nielsen began making a living as an assistant violinist

Rosenhoff,1 som han havde haft som lærer på konservatoriet i

in various orchestras — for example the Tivoli Orchestra — and

harmonilære, kontrapunkt og fuga. Et af de værker, som Carl

as a teacher of the violin and chamber music. However, at the

Nielsen komponerede, mens han studerede komposition hos

same time he chose to continue his composition studies with

Rosenhoff, var sit første opus-nummererede: Suite for Strygeorke-

1

2

Orla Rosenhoff, who had been his teacher at the conservatory

ster. Den 8. september 1888 førsteopførtes værket i Tivoli ved

in harmony, counterpoint and fugue. One of the works that

den Anden nordiske Koncert i anledning af Den store nordiske

Carl Nielsen wrote while studying composition was his first

Industriudstilling. Tivoli-orkestrets dirigent, som var kendt for

2

opus-numbered work: Suite for String Orchestra. On 8th Septem-

at hjælpe unge talenter på vej, var den navnkundige Balduin

ber 1888 the work had its first performance at the Tivoli

Dahl. De to kendte allerede hinanden, idet Carl Nielsens

Concert Hall in the Second Nordic Concert on the occasion of the

Andante tranquillo e Scherzo for strygeorkester var blevet opført

Great Nordic Industrial Exhibition. The conductor of the Tivoli

året før under ledelse af Balduin Dahl.

3

4

orchestra, who was well known for helping young talents on 3

Suiten blev en stor succes hos publikum, og midter-

their way, was the renowned Balduin Dahl. The two were

satsen måtte gives som ekstranummer. Carl Nielsen, der

already acquainted, since Carl Nielsen’s Andante tranquillo e

spillede med i det udvidede orkester, måtte kaldes frem flere

Scherzo for string orchestra had been performed the previous

gange:

year under Dahl’s baton.4 The Suite was a great success with the audience and

1 Komponist og musikteoretiker (1844-1905).

2 Selvom værket udkom som Kleine Suite für Saiteninstrumente, anvendte Carl Nielsen tilsyneladende aldrig selv denne titel; i stedet foretrak han Suite for Strygeorkester, Suite for Strygere eller Strygesuite. Se fx samtidige anmeldelser af værket i aviserne og interview i Politiken med Carl Nielsen den 13.1.1926 samt koncertprogrammer, hvor Carl Nielsen selv dirigerede værket. Også i hans breve og dagbøger betegnes værket som Strygesuite eller Suite, jf. Torben Schousboe (udg.), Carl Nielsen. Dagbøger og brevveksling med Anne Marie CarlNielsen, København 1983, s. 26, 27, 519; Irmelin Eggert Møller og Torben Meyer (udg.), Carl Nielsen Breve. I udvalg med kommentarer, København 1954, s. 49, 240.

3 Dansk dirigent (1834-91).

4 Se anmeldelse i Nationaltidende, 18.9.1887 samt Tivolis koncertprogram fra 17.9.1887.

the middle movement had to be played again as an encore. Carl Nielsen, who played in the expanded orchestra, was called back by the audience several times:

1 Composer and music theorist (1844-1905).

2 Although the work was published as Kleine Suite für Saiteninstrumente, Carl Nielsen never seems to have used this title; instead he preferred Suite for Strygeorkester, Suite for Strygere or Strygesuite. See for example contemporary reviews of the work in the newspapers and an interview in Politiken with Nielsen on 13.1.1926 as well as concert programmes where Carl Nielsen himself conducted the work. In Nielsen’s letters and diaries, too, the work is called Strygesuite or Suite; cf.

Torben Schousboe (ed.), Carl Nielsen. Dagbøger og brevveksling med Anne Marie Carl-Nielsen, Copenhagen 1983, pp. 26, 27, 519; Irmelin Eggert Møller & Torben Meyer (eds.), Carl Nielsen Breve. I udvalg med kommentarer, Copenhagen 1954, pp. 49, 240.

3 Danish conductor (1834-1891).

4 See review in Nationaltidende, 18.9.1887, and the Tivoli concert programme for 17.9.1887.

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“Glædeligt var det at høre Hr. Carl Nielsens Suite for Strygeorkester. Den unge Mand har aabenbart meget paa sit musikalske Hjerte, han ønsker sagt, og det, han fortalte os i Lørdags, var “It was a pleasure to hear Mr. Carl Nielsen’s Suite for String

fremsat i en smuk, koncis Form, beskedent og tiltalende, med

Orchestra. The young man obviously has a great deal on his

udmærket Stemmeføring og kjøn Klangfylde, der røber sikkert

musical mind that he wants to say, and what he told us on

og kyndigt Blik til Strygemateriale. Der er al Grund til at

Saturday was presented in a beautiful, concise form, modestly

lykønske den unge Mand til denne, saavidt vi vide, Debut for

and attractively, with excellent part-writing and an appealing

Offentligheden. Suiten var en afgjort Sukces; den mellemste

fullness of sound that reveals an excellent eye for the string

Sats maatte spilles da Capo, og efter den sidste blev Komponi-

material. There is every reason to congratulate the young man

sten, der øiensynligt vakte megen Sympathi ved sin store

on this — as far as we know — his public debut. The Suite was a

Ungdom, kaldt tre Gange frem. Bifaldet var vel fortjent, og vi

decided success; the middle movement had to be played da

ville haabe, at det maa anspore Hr. Nielsen til nye Anstrengel-

Capo, and after the last performance the composer, who clearly

ser for at gjøre sit umiskendelige Talent frugtbringende.

aroused much sympathy with his great youth, was called out

Udførelsen af Suiten var fortræffelig, og Hr. Dahl fortjener en

three times. The applause was well deserved, and we may hope

varm Paaskjønnelse, fordi han giver de Unge Ly under sine

that it will stimulate Mr. Nielsen to new efforts to make his

musikalske Vinger; der er desværre saa faa Steder herhjemme,

unmistakable talent bear fruit.

hvortil de kunne tye hen.”5

The performance of the Suite was excellent, and Mr. Dahl deserves warm appreciation, because he offers the young

Der var dog også kritikere, der forholdt sig afventende over for

shelter under his musical wings; there are unfortunately so few

den kun 23-årige komponist:

5

places in this country they can turn to.”

“I den danske Afdeling var Nyhederne repræsenteret ved d’Hrr. The reaction of the critics towards the 23-year-old composer

Carl Nielsen (Suite for Strygeorkester), som ingen kender, og Hr.

was, however, somewhat guarded:

Cornelius Rübner (Symfonisk Digtning), som er ganske uden6

landsk. Et mærkeligt sammensat Program.”

“In the Danish section the new was represented by Messrs. Carl Nielsen (Suite for String Orchestra), whom no one knows, and

Satsbetegnelserne er desværre ikke angivet i programmet

Mr. Cornelius Rübner (Symphonic Poem), who is quite foreign.

fra førsteopførelsen og bliver heller ikke nævnt i avisernes

An oddly composed programme.”

6

anmeldelser. Men da Carl Nielsen blev interviewet til Pressens Magasin i 1918, fortalte han, at satserne havde undertitlerne

The names of the movements are unfortunately not given in

“Danaiderne”, “Kariternes Dans” og “Bacchus-Toget”. Balduin

the programme from the first performance, nor were they

Dahl mente dog, at titlerne var affekterede og bad Carl Nielsen

mentioned in the newspaper reviews. But when Carl Nielsen

om at fjerne dem, hvilket han imidlertid ikke gjorde.7

was interviewed by Pressens Magasin in 1918, he said that the

Allerede omkring en måned senere blev Suite for Stryge -

movements had the subtitles “The Danaids”, “The Dance of the

orkester opført igen — denne gang i Odense, hvor Carl Nielsen

Charites” and “The Bacchus Procession”. Balduin Dahl thought,

samtidig fik sin offentlige debut som dirigent. Ved samme

however, that the titles were affected and asked Carl Nielsen to

koncert spillede han Souvenir d’Haydn af Hubert Lénoard og fik

7

remove them, which he, nevertheless, did not do.

8

en rosende omtale som violinist:

As early as a month later the Suite for String Orchestra was performed again — this time in Odense, where Carl Nielsen

“[Carl Nielsens] Suite for Strygeorkester, der dirigeredes af

at the same time made his public debut as a conductor. In the

ham selv, er et meget tiltalende Musikværk, og det fandt ogsaa

same concert Nielsen played Souvenir d’Haydn by Hubert Léonard8 and was praised as a violinist:

5 Avisen, 10.9.1888.

6 Politiken, 9.9.1888.

7 Pressens Magasin, 1.6.1918 (Helge Wamberg). John Fellow Larsen har venligst henledt min opmærksomhed på denne artikel.

8 Belgisk komponist og violinist (1819-1890).

“[Carl Nielsen’s] Suite for String Orchestra, conducted by himself, is a very attractive musical work, and it had the best

5 Avisen, 10.9.1888.

6 Politiken, 9.9.1888.

7 Pressens Magasin, 1.6.1918 (Helge Wamberg). My thanks to John Fellow Larsen for directing my attention to this article.

8 Belgian composer and violinist (1819-1890).

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den bedste Modtagelse hos Publikum. Ved hans Udførelse af Leonards Souvenir d’Haydn lærte man ham at kjende som en udmærket dygtig Violinist, der allerede nu har drevet det til en possible reception from the audience. In his performance of

høj Grad af teknisk Færdighed. Efter Foredraget af dette Musik-

Leonard’s Souvenir d’Haydn we got to know him as a highly able

stykke brød der en sand Bifaldsstorm løs fra Publikum.”9

violinist, who has already achieved a high degree of technical skill. After the performance of this piece of music a veritable

Den 28. april 1889 blev Suiten opført i Arbejderforeningens

storm of applause broke out from the audience.”9

Festsal under ledelse af komponisten selv. Også ved denne lejlighed måtte midtersatsen, som nu tilsyneladende havde

On 28th April 1889 the Suite was performed in the Hall of the

fået titlen Scherzino i stedet for “Kariternes Dans”, gives som

Working Men’s Association (Arbejderforeningens Festsal),

ekstranummer for et begejstret publikum; således skriver

under the baton of the composer himself. On this occasion too

Dagens Nyheder:

the middle movement, which had now apparently been given the title Scherzino instead of “Dance of the Charites“, was

“Den treogtyveaarige Komponist dirigerede selv dette lovende

played as an encore for an enthusiastic audience. The news-

Arbeide og maatte efter energisk Opfordring give Scherzinoen

paper Dagens Nyheder wrote:

da capo; han fremkaldtes efter Finalen atter og atter.”10

“The 23-year-old composer conducted this promising work

Og Politiken bemærker:

himself and after energetic urging performed the Scherzino da capo; after the Finale he was called out again and again.”10

“Under Komponistens Direktion udførte endvidere det samme Orkester tre Satser af en Stryge-Orkester-Suite af Carl Nielsen […]

Der var her en saa ukunstlet og paa samme Tid kunstforstandig

And Politiken remarked:

Skriven løs, saa meget ulavet og hjærtevindende i denne Ordets “Under the baton of the composer, the same orchestra also

allerbedste Forstand ungdommelige Musik, at det ikke kunde

performed three movements of a string orchestra suite by Carl

andet end indtage baade Musikkyndige og Lægfolk for den

Nielsen [...] This demonstrated such an unpretentious and at the

ganske unge Komponist-Dirigent. Bifaldet var stormende.”11

same time artistically tasteful freedom of writing, with music so uncontrivedly and endearingly (in the best sense of the

I løbet af den næste måneds tid havde Carl Nielsen tilsynela-

word) youthful that it could not but charm both musical

dende travlt med at omarbejde Finale-satsen kraftigt og få

experts and laymen in favour of the young composer-conduc-

skrevet nye orkesterstemmer ud. Til en koncert i Tivoli den 25.

tor. The applause was tumultuous.”11

maj, som blev holdt i anledning af en fest for hjemkomsten af Fridtjof Nansens store Grønlandsekspedition, blev Suite for

In the course of the next month Carl Nielsen appears to have

Strygeorkester opført i den nye version. Ifølge flere aviser var

been busy radically reworking the final movement and writing

finalen blevet omarbejdet, og Politiken nævner, at revisionen var

out new orchestral parts. At a concert in Tivoli on 25th May,

sket specielt med henblik på festen for Fridtjof Nansen.12

held to mark the return of Fridtjof Nansen’s great Greenland

Sammenholder man anmeldelserne fra koncerten den 25. maj

Expedition, the Suite for String Orchestra was performed in the

med de foregående, viser det sig, at den oprindelige version af

new version. According to several newspapers the Finale had

Finalen havde en hurtig begyndelse, sandsynligvis svarende til

been reworked, and Politiken mentioned that the revision had

Allegro con brio-delen, hvorimod den omarbejdede version

been done especially with the celebration for Fridtjof Nansen in mind.12 Comparing the reviews of the concert of the 25th

9 Fyens Stiftstidende, 17.10.1888; koncerten fandt sted 16.10.1888.

10 Dagens Nyheder, 30.4.1889.

11 Politiken, 2.5.1889.

12 Jf. Politiken, 26.5.1889 og Dagbladet, 29.5.1889. Fridtjof Nansen, norsk Grønlandsfarer (1861-1930).

May with the previous ones, it emerges that the original version of the Finale had a fast beginning, probably corresponding to the Allegro con brio section, while the reworked version begins

9 Fyens Stiftstidende, 17.10.1888; the concert was on 16.10.1888.

10 Dagens Nyheder, 30.4.1889.

11 Politiken, 2.5.1889.

12 Cf. Politiken, 26.5.1889 and Dagbladet, 29.5.1889. Fridtjof Nansen, Norwegian Greenland explorer (1861-1930).

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begynder med en langsom introduktion, i hvilken Carl Nielsen 13

anvender temaet fra førstesatsen.

Selvom Carl Nielsens Suite for Strygeorkester også ved with a slow introduction, in which Carl Nielsen uses the theme of the first movement.

denne lejlighed vakte stor begejstring blandt det brede publi-

13

kum, var der dog nogle, som begyndte at kritisere den tilsynela-

Although Carl Nielsen’s Suite for String Orchestra aroused

dende store opmærksomhed, som komponisten og hans nye

great enthusiasm from the public too on this occasion, there

værk skabte. Især anmelderne på Illustreret Tidende og Dagbladet

were a few people who began to criticize the stir that the

udtrykte sig noget negativt om Carl Nielsens talent:

composer and his new work appeared to be creating. The reviewers on Illustreret Tidende and Dagbladet in particular

“Medens vi gjærne skal indrømme, at disse Koncertaftener har

expressed a somewhat negative view of Nielsen’s talents:

vist, at Carl Nielsen er den af de optrædende Komponister, der sidder inde med de største medfødte musikalske Evner maa vi

“While we willingly admit that these concert evenings have

dog tage noget Forbehold over for den som det synes lovlig

shown that Carl Nielsen is the composer among those played

rigelig Virak, der allerede nu af Publikum og i Pressen ofres

who has the greatest innate musical talent, we must express

ham. I hvert Fald maa denne Hyldest betragtes som ydet ham

some reservations about what appears to be the more than

forskudsvis, thi de opførte Arbejder af ham har virkelig kun

ample homage already paid to him by the public and the press.

vist, at han som nævnt har en medfødt Gave til at arbejde

At all events this homage seems to have been paid in advance,

sjælden let, næsten rutineret, og at han ved disse Anlæg og

for the works by him that have been performed have in reality

megen Flid allerede nu er naat til at være en særdeles dygtig

only shown that he has an innate gift for working with rare

og solid Musiker, men de har ikke givet Vidnesbyrd om nogen

ease, almost as a matter of routine, and that through these

særlig Kunstnerpersonlighed eller ejendommelig Skaber-

abilities and much industry he has already managed to become

evne.”

14

a particularly able and solid musician; but they have borne witness to no special artistic personality or distinctive creative

Ud fra oplysningerne i anmeldelserne kan den eksisterende

talent.”14

ufuldstændige kladde til Finalen således bestemmes til at være en del af den tidlige version af opus 1.15 En nærmere gennemgang af kladden og renskriften til Finalen viser, at de to

On the basis of the information in the reviews, the existing incomplete draft for the Finale can thus be identified as part of the early version of opus 1.15 A more detailed scrutiny of the

13 Politiken, 2.5.1889; se også Torben Schousboe, Udviklingstendenser inden for Carl Nielsens symfoniske orkesterværker indtil ca. 1910, København: Musikvidenskabeligt Institut 1968 (magisterafh.); Peter Hauge, “Carl Nielsens første opus: Problemer omkring tilblivelsen og førsteopførelsen af Lille Suite”, Fund og Forskning 35 (1996), s. 223-237.

Satsbetegnelserne var ifølge anmeldelserne (Dagens Nyheder, 30.4. 1889, Politiken, 2.5.1889) og koncertprogrammerne dog stadig de samme (Prelude, Scherzino og Finale). I programmet for “Folkekoncerterne af 1886” (28.4.1889) står der: “1. Del Prélude—Forspil / 2. [Del] Scherzino—Spøgende / 4. [Del] Finale—Slutning”; “4. Del” skulle have været betegnet som “3. Del”. I programmet for Tivoli (25.5.1889) nævnes satserne som: “a) Prelude. / b) Scherzino. / c) Finale.”

14 Illustreret Tidende, 9.6.1889 (nr. 36 s. 438); anmeldelsen er muligvis skrevet af musikhistorikeren og -kritikeren William Behrend (1861-1940), som også tidligere havde kritiseret Carl Nielsen (jf. Illustreret Tidende, 5.5.1889 (nr.

31 s. 378)); dog blev Behrend senere en af Carl Nielsens beundrerer. Også musikkritikeren H.W. Schytte (18271903), som var kendt for at være konservativ i sine musikalske synspunkter, udtrykte forbehold over for bl.a. Carl Nielsens arbejde, jf. Dagbladet, 29.5.1889. i ii 15 Dk-Kk, CNS 48b(1) (kilde E ) og CNS 354a, læg 6 (kilde E ).

draft and the fair copy of the Finale shows that the two versions

13 Politiken, 2.5.1889; see also Torben Schousboe, Udviklingstendenser inden for Carl Nielsens symfoniske orkesterværker indtil ca. 1910, Musikvidenskabeligt Institut, Copenhagen 1968 (master’s thesis for the Department of Music); Peter Hauge, “Carl Nielsens første opus: Problemer omkring tilblivelsen og førsteopførelsen af Lille Suite”, Fund og Forskning 35 (1996), pp. 223-237. According to the reviews (Dagens Nyheder, 30.4.1889, Politiken, 2.5.1889) and concert programmes, the names of the movements were still the same (Prelude, Scherzino and Finale). The programme for the “People’s Concerts of 1886” (28.4.1889) says: “1st Part Prélude / 2nd [Part] Scherzino-Joking / 4th [Part] Finale-End”; “4th Part” should have been “3rd Part”.

The programme for the Tivoli concert (25.5.1889) names the movements: “a) Prelude. / b) Scherzino. / c) Finale.”

14 Illustreret Tidende, 9.6.1889 (No. 36 p. 438); the review was presumably written by the music historian and critic William Behrend (1861-1940), who had also criticized Carl Nielsen before (cf. Illustreret Tidende, 5.5.1889 (No. 31 p. 378)); however, Behrend later became one of Carl Nielsen’s admirers. The music critic H.W. Schytte (1827-1903), known as a conservative in his musical views, also expressed reservations about Carl Nielsen’s work, cf. Dagbladet, 29.5.1889. i 15 Dk-Kk, CNS 48b(1) (Source E ) and CNS 354a, Item 6 ii (Source E ).

Carl Nielsen Udgaven CN 00009

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versioner er meget forskellige i opbygning, idet den oprindelige version indeholdt en Adagio for soloviolin akkompagneret af orkestret, mens den langsomme introduktion, som Carl are very different in structure, since the original version

Nielsen anvendte i den senere version, slet ikke forekommer.

included an Adagio for solo violin accompanied by the

Der findes tilsyneladende ikke overleveret en kladde til de to

orchestra, while the slow introduction that Carl Nielsen used

første satser, hvilket kunne tyde på, at disse ikke er blevet

in the later version does not appear at all. No draft for the first

omarbejdet. Årsagen til at Carl Nielsen valgte at omarbejde

two movements appears to have survived, and this may be

Finalen, kan være, at han på et tidspunkt efter førsteopførelsen

because they were never reworked. The reason Carl Nielsen

havde vist værket til dansk musiklivs nestor, Niels W. Gade,16

chose to rework the Finale may have been that at some point

som satte fingeren på den og bemærkede: “Lille Nielsen, De

after the first performance he showed the work to the Nestor of

roder for meget!”

16

Danish musical life, Niels W. Gade, who laid his fingers on it

17

Det er sandsynligt, at Carl Nielsen fik hjælp fra

17

and remarked: “Little Nielsen, you are too cluttered!”

Rosenhoff til den kraftige revision af Suiten. Af de få bevarede

It is highly probable that Nielsen was aided by Rosenhoff

breve mellem de to fremgår det tydeligt, at Rosenhoff

in the radical revision of the Suite. In the few letters between

ihvertfald har gennemset og foretaget korrektioner i Fantasi-

the two that have survived, it is quite clear that Rosenhoff at

stykker for obo og piano (op. 2) og Fem klaverstykker (op. 3), som

least scrutinized and made corrections in Fantasy Pieces for Oboe

udkom henholdsvis i 1890 og 1891. Selv da Carl Nielsen

and Piano (op. 2) and Five Piano Pieces (op. 3), which appeared in

arbejdede på sin f-mol kvartet (op. 5) i 1890, skrev han ofte til

1890 and 1891 respectively.18 Even when Nielsen was working

Rosenhoff og fortalte, hvordan arbejdet skred frem. At Suiten

on his F minor quartet (op. 5) in 1890, he often wrote to

fremtræder forholdsvis konsistent, kan således skyldes, at

18

19

19

Rosenhoff and told him how the work was progressing. The

Rosenhoff har underkastet værket en grundig korrektur — et

relative consistency of the Suite may thus be due to the

arbejde, som Carl Nielsen senere i sit liv tilsyneladende ikke

thorough proof-reading by Rosenhoff — a job that Nielsen later

selv brød sig om at udføre.

Da Carl Nielsen udarbejdede sit trykforlæg — sandsynlig-

in life does not seem to have cared much to do.

When Carl Nielsen drew up his printing manuscript —

vis i sommeren 1889 — fik satserne franske betegnelser

probably in the summer of 1889 — the movements were given

(Prélude, Intermède og Finale). I september blev Carl Nielsen

French names (Prélude, Intermède and Finale). In September

ansat i Det Kongelige Kapel og søgte på Gades opfordring for

Nielsen was engaged by the Royal Orchestra and, encouraged

anden gang det eftertragtede Anckerske Legat, som han blev

by Gade, applied a second time for the coveted grant, Det

tildelt, og for hvilket han skulle foretage en udenlandsrejse. I

Anckerske Legat, which he was awarded, and which he was to

foråret 189020 udkom Carl Nielsens første opus på Wilhelm

20

use to make a journey abroad. In the spring of 1890 Carl

Hansens Forlag som Kleine Suite für Saiteninstrumente.

Nielsen’s first opus was published by Wilhelm Hansens Forlag

Satsbetegnelserne var nu ændret til Präludium, Intermezzo og

as Kleine Suite für Saiteninstrumente. The names of the move-

Finale, og værket var tilegnet Orla Rosenhoff.

ments had now been changed to Präludium, Intermezzo and

Peter Hauge

Finale, and the work was dedicated to Orla Rosenhoff.

16 Komponist, dirigent og lærer (1817-1890).

17 Politiken, 26.1.1913.

18 DK-Kk, CNA I.A.b., breve dateret 13.7.1890, 30.11.1890 samt 20.12.1890 (fra Wilhelm Hansen til Carl Nielsen på foranledning af Orla Rosenhoff).

19 Irmelin Eggert Møller og Torben Meyer, op. cit., s. 7-8, s. 15.

20 Iflg. Ludvig Dolleris, Carl Nielsen: En Musikografi, Odense 1949, s. 15, udkom Suite for Strygere allerede 25.1.1889 (“Selve Datoen usikker”) — det vil sige, før værket var blevet omarbejdet til dets endelige version i maj 1889.

Dolleris angiver ikke, hvor hans oplysning stammer fra.

Ifølge Wilhelm Hansens stikkerbog, som er opbevaret på Det Kongelige Bibliotek, er værket placeret mellem Sommerrevuen 1889. Muntre Musikanter og Nytaarsrevuen 1890. Jf. Peter Hauge, op. cit., s. 227-230.

Peter Hauge

16 Composer, conductor and teacher (1817-1890).

17 Politiken, 26.1.1913.

18 DK-Kk, CNA I.A.b., letters dated 13.7.1890, 30.11.1890 and 20.12.1890 (from Wilhelm Hansen to Carl Nielsen at the request of Orla Rosenhoff).

19 Irmelin Eggert Møller & Torben Meyer (eds.), op. cit., pp.

7-8, p. 15.

20 According to Ludvig Dolleris, Carl Nielsen: En Musikografi, Odense 1949, p. 15, the Suite for Strings appeared as early as 25.1.1889 (“Actual date uncertain”) — that is, before it had been reworked into its final version in May 1889.

Dolleris does not say where his information comes from. According to Wilhelm Hansen’s engraver’s book, which is kept at the Royal Library, the job was done between “Summer Revue Music of 1889. Merry Musicians” and “New Year Revue Music for 1890”. Cf. Peter Hauge, op. cit., pp. 227-230.

Carl Nielsen Udgaven CN 00009

xi

Suite for String Orchestra (Source C), bb. 1-21. The printing manuscript for the beginning of the Finale as the movement is known today, probably played for the first time at Tivoli on 25th May 1889.

Carl Nielsen Udgaven CN 00009

Suite for Strygeorkester (kilde C), t. 1-21. Trykforlægget til begyndelsen af Finalen sådan som satsen kendes i dag, formentlig spillet første gang i Tivoli den 25. maj 1889.

xii

Carl Nielsen Udgaven CN 00009

xiii i

Suite for String Orchestra, draft (Source Ei) for the earlier version of the beginning of the Finale as it was probably performed on 8th September 1888. The page (fol. 1r) contains bb. 1-10 corresponding to bb. 20-28 in the printed version.

Suite for Strygeorkester, kladde (kilde Ei) til den tidligere version af begyndelsen til Finalen südan som den formentlig blev opført den 8. september 1888. Siden (fol. 1r) indeholder t. 1-10 svarende til t. 20-28 i den trykte version.

Carl Nielsen Udgaven CN 00009

xiv ii

Suite for String Orchestra, page seven of the draft (Source Eii) for the earlier version of the Finale, which includes an Adagio with a solo for violin.

ii

Suite for Strygeorkester, side syv af kladde (kilde Eii) til den tidligere version af Finalen, som indeholder en Adagio med solo for violin.

S U I T E F O R

S T R I N G

S U I T E O R C H E S T R A

PRELUDE / PRÆLUDIUM Andante con moto ( = 56)

F O R

I

S T R Y G E O R K E S T E R

Op. 1

Violino 1

Violino 2

div.

Viola

Violoncello

Contrabbasso

5

A

10

dim.

Copyright © 2001 by Carl Nielsen Udgaven, The Royal Library, Copenhagen Copyright © 1999 by Carl Nielsen Udgaven, The Royal Library, Copenhagen

CN 00009

2

15

cre

scen div.

3

cre

3

3

3

scen 3

3

3

3

cre

scen

cre

scen

3

3

3

3

cre

B 20

do trem.

do trem.

do trem.

do

scen

do

24

dim. div.

dim.

dim.

Carl Nielsen Udgaven CN 00009

2

3 trem. div.

29

arco

pizz. trem.

solo

pizz.

C

34

trem.

trem. arco

div. div.

rit.

40

dim. pizz.

dim. pizz.

Carl Nielsen Udgaven CN 00009

3

4

INTERMEZZO Allegro moderato

II ( = 176)

con sord.

Violino 1

con sord. pizz.

Violino 2

senza sord. pizz.

Viola

senza sord. pizz.

Violoncello

senza sord. pizz.

0

0

0

0

Contrabbasso

9

pizz.

arco

div.

arco div.

arco

arco

18

1

2

Carl Nielsen Udgaven CN 00009

4

pizz.

5

A 25

arco

sempre arco

sempre

sempre

sempre

sempre

33

di

mi

nu

en

do

di

mi

nu

en

do

di

mi

nu

en

di

mi

nu

en

di

mi

nu

en

do

do

do

42

di

di

di

di

Carl Nielsen Udgaven CN 00009

5

6

B 51

di

mi

nu

en

do

mi

nu

en

do 0

mi

nu

en

0

do pizz.

mi

nu

en

do

mi

nu

en

do

60

div.

arco

pizz.

0

pizz.

0

68

pizz.

arco

pizz.

arco

Carl Nielsen Udgaven CN 00009

6

arco

arco

7

77

div.

pizz.

pizz.

86

cre

cre

cre arco cre arco cre

1 div.

94

scen

do

scen

do pizz.

scen

do

scen

do

scen

do

Carl Nielsen Udgaven CN 00009

7

8

C 2 div.

102 I

3

3

3

div. 3

3

3

3

3

3

3

3

3

arco div.

3

3

3

3 3

3

3 3

3

103 II

109

pizz.

pizz. div.

pizz.

Carl Nielsen Udgaven CN 00009

8

9

D 117

cre

scen

cre

scen

cre

scen

cre

scen

cre

scen

125

do arco

do

do pizz.

do

do

133

pizz.

arco

arco pizz.

Carl Nielsen Udgaven CN 00009

9

10

E 141

arco div.

arco

arco

149

div.

156

pizz.

pizz.

pizz.

Carl Nielsen Udgaven CN 00009

10

11

164

arco

arco div.

pizz.

0

0

0

0

172

pizz.

div.

pizz.

arco

arco

180

arco

Carl Nielsen Udgaven CN 00009

11

12

F 188

arco

sempre

di

mi

di

mi

di

mi

sempre

di

mi

sempre

di

mi

sempre

sempre

196

nu

en

do

nu

en

do

nu

en

nu

en

nu

en

do

do

do

204

di

di

di

di

di

Carl Nielsen Udgaven CN 00009

12

13

G 213

mi

nu

en

do

mi

nu

en

do 0

mi

nu

en

do

mi

nu

en

do

mi

nu

en

do

0

pizz.

221

div.

arco

pizz.

0

pizz.

0

arco

pizz.

arco

pizz.

H 229

div.

pizz.

pizz.

Carl Nielsen Udgaven CN 00009

13

14

239

di

di

di arco di

246

mi

nu

en

do

mi

nu

en

do

mi

nu

en

do

mi

nu

en

do

254

pizz.

Carl Nielsen Udgaven CN 00009

14

15

FINALE Andante con moto (

III = 56)

div.

Violino 1

div.

Violino 2

Viola

Violoncello

Contrabbasso

7

cre

scen

cre

scen

cre

scen

cre

scen

cre

scen

A 10

do

do

do

do

do

Carl Nielsen Udgaven CN 00009

15

3

3

3

3

3

3

3

3

16

14

di

mi

nu

en

do

di

mi

nu

en

do

di

mi

nu

en

do

di

mi

nu

en

do

di

mi

nu

en

do

Allegro con brio 20

molto

molto

molto

22

Carl Nielsen Udgaven CN 00009

16

( = 80)

17

25

B

29

36

Carl Nielsen Udgaven CN 00009

17

18

42

47

di

mi

nu

en

do

di

mi

nu

en

do

di

mi

nu

en

do pizz.

di

mi

nu

en

do pizz.

di

mi

nu

en

do

C 53

arco

0

arco 0

Carl Nielsen Udgaven CN 00009

18

19

59

64

cre

scen

cre

scen

cre

scen

cre

scen

cre

scen

D 70

do

do

do

do

do

Carl Nielsen Udgaven CN 00009

19

20

76

83

E 89

pizz.

di

mi

nu

en

do

div.

di

mi

nu

en

do

pizz.

di

mi

nu

en

do

di

mi

nu

en

do

di

mi

nu

en

do

pizz.

pizz.

Carl Nielsen Udgaven CN 00009

20

21

arco 95

arco

arco

arco

F 101

pizz.

pizz.

106

Carl Nielsen Udgaven CN 00009

21

22

111

cre

cre

cre arco

cre arco

cre

116

scen

do

scen

do

scen

do div.

scen

do

scen

do

121

Carl Nielsen Udgaven CN 00009

22

23

G 126

131

136

cre 3

3

3

3

cre

cre

cre

cre

Carl Nielsen Udgaven CN 00009

23

24

140

scen

do

scen

do

scen

do

scen

do

scen

do

144

sempre

cre

scen

sempre

cre

scen

sempre

cre

scen

sempre

cre

scen

sempre

cre

scen

H 148

do

do

do

do

do

Carl Nielsen Udgaven CN 00009

24

25

152

156

I 162

Carl Nielsen Udgaven CN 00009

25

26

168

cre

cre

cre

cre

cre

173

scen

do pizz.

scen

do pizz.

scen

do

scen

do pizz.

scen

do

179

arco

Carl Nielsen Udgaven CN 00009

26

27

J 185

arco

arco

191

cre

scen

do

cre

scen

do

cre

scen

do

cre

scen

do

cre

scen

do

197

Carl Nielsen Udgaven CN 00009

27

28

pi첫 mosso

203

dim.

dim.

dim.

dim.

dim.

210

cre

scen

do

cre

scen

do

cre

scen

do

cre

scen

do

cre

scen

do

215

Carl Nielsen Udgaven CN 00009

28

29

220

226

231

Carl Nielsen Udgaven CN 00009

29

F O R K O R T E L S E R A B B R E V I A T I O N S b.

bar

cb.

contrabbasso

CN

Carl Nielsen

CNA

Carl Nielsen Arkivet (The Carl Nielsen Archives)

CNS

Carl Nielsens Samling (The Carl Nielsen Collection)

DFM

Dan Fogs Musiksamlinger (Dan Fog’s Music Collection)

DK-Kk

Det Kongelige Bibliotek, København (The Royal Library, Copenhagen)

marc.

Carl Nielsen Udgaven CN 00009

marcato

Pl. No.

Plate Number

stacc.

staccato

str.

strings

ten.

tenuto

va.

viola

vc.

violoncello

vl.

violino

30

C R I T I C A L C O M M E N T A R Y

In the Critical Commentary the following conventions

A1 Printed score, title impression of first edition, dedication copy for the pianist Henrik Knudsen.

are used:

Dk-Kk, DFM 29 No. 33,2.

1

“by analogy with” is used when something has been

Title page: “Herrn Orla Rosenhoff gewidmet. / Carl Nielsen

“added”, “emended” or “omitted” by analogy with another

/ Kleine Suite / für / Saiteninstrumente. / Partitur. /

passage in the main source. The analogy may be vertical.

Kopenhagen & Leipzig. / Wilhelm Hansen, Musik-Verlag /

When something is added “by analogy with” one or more

Eigentum des Verlegers für alle Länder — propriété pour

instruments, it is understood that the analogy is with the

tous pays / Aufführungsrecht vorbehalten — droits de

same place in the same bar(s).

représentation réservès / Kjøbenhavn & Leipzig / Wilhelm

Or it may be horizontal. When something is added “by

Hansen, Musik-Forlag / Kristiania Norsk Musik-Forlag / (Hals

analogy with” one or more bars, it is understood that the

Brothers — Warmuth — Wilhelm Hansen) / Paris /

analogy is with a parallel place in the same instrument(s).

dépositaire exclusif pour la France / Max Eschig / Bruxelles / dépositaire exclusif pour la Belgique / J. B. Katto / Sole

2

“as in” is used when something is “added”, “emended” or

Agents / London / Schott & Co. / Boston, Mass. US.A. / The

“omitted” to correspond to the same place in another

Boston Music Co. / 26 & 28 West St. / New York / G. Schirmer,

source.

(Inc.)”.

Pl. No.: 10430 (1909-1912).

3

“in accordance with” is used in cases where there is no

Acquired by the Royal Library from the antiquarian music

authoritative source, only a guideline – for example

bookseller Dan Fog, Copenhagen, in 1993.

printed part material.

26.9x17.2 cm, 33 pp., 1 gathering (8 bifolios, 1 folio) loose covers.

In the bar number column, the symbol “+” is used to indicate

On the first page of music: “Til min kære Ven / Henrik

an upbeat to the bar in question.

Knudsen og glædeligt / Nytaar! / 2-1-13 / din hengivne / Carl Nielsen.”1 in ink (CN). Very few changes have been made in the plates.

S O U R C E S A2 Printed score, first edition.

Title page: “Herrn Orla Rosenhoff gewidmet. / Carl Nielsen

S U I T E F O R S T R I N G O R C H E S T R A, O P U S 1

/ Kleine Suite / für / Saiteninstrumente. / Partitur. / Printed score, title impression of first edition, dedication

Kopenhagen & Leipzig. / Wilhelm Hansen, Musik-Verlag.”

copy for the pianist Henrik Knudsen

Pl. No.: 10430 (1890).

A

Printed score, first edition

26.9x17.2 cm, 33 pp.

B

Printed set of parts, first edition

Movement names: “I. / Präludium.”, “II. / Intermezzo.” and

C

Autograph score, printing manuscript

“III. / Finale.”

D

Autograph score, fragment of draft

Ei

Autograph score, fragment of draft

1

A

2

E

Autograph score, fragment of draft

F

Printed set of parts, consisting of first edition and title

ii

1 “To my dear friend / Henrik Knudsen and a Happy / New Year! / 2-1-13 / your devoted / Carl Nielsen.”

impression of first edition

Carl Nielsen Udgaven CN 00009

31

B

The score, which has neither work title nor movement

Printed parts, first edition.

Wilhelm Hansen, musikforlag, Pl. No.: 10430 (1890).

name, consists of a total of 23 bars corresponding to the

26.9x17.2 cm, 5 parts (vl. 1, vl. 2, va., vc., cb.) in 2 bifolios,

Finale from b. 216 to the end. The last 4 bars are, however,

pages numbered 1-8.

different. The bar lines on fol. 1r are in ink and the last 2 bars are in thick, light-coloured pencil; a cross on a bar line

C

(fol. 1r, bb. 2-3) has been added in ink.

Autograph score, printing manuscript.

DK-Kk, CNS 48a.

Title page: “Suite for Strygeorchester / af / Carl Nielsen”,

Ei

Autograph score, fragment of draft.

added in an unknown hand.

DK-Kk, CNS 48b(1).

Donated to the Royal Library by Irmelin Eggert Møller,

Donated to the Royal Library by Irmelin Eggert Møller in

Anne Marie Telmányi and Wilhelm Hansen, music pub-

1958.

lishers, in 1953.

25.9x34.8 cm, 1 folio, writing on both sides in pencil,

33.8x25.9 cm, 29 pp. with brownish covers, first leaf

paginated 1-2.

unpaginated, other pagination by Carl Nielsen (pp. 3-21)

Paper type: 12 hand-ruled staves.

and an unknown hand (pp. 22-29); originally the pages

The score has been restored.

were in bifolios (7 bifolios and 1 folio), of which pp. 13-16

The fragment, which has neither work title nor movement

are still in 1 bifolio.

name, consists of 22 bars corresponding to the Finale from

Paper type: 16 staves.

b. 20. First system, first staff: “Violin I”; two crosses (p. 1 bb.

The score has been restored.

7-8, p. 2 bb. 11-12) on bar lines added in ink. The folio has

The score has additions in sharp purple crayon (Orla

three creases.

Rosenhoff ?) and engraver’s remarks in heavy pencil and blue and orange crayon; the publisher’s plate number is

Eii Autograph score, fragment of draft.

shown at the bottom of the first music page along with the

DK-Kk, CNS 354a, Item 6.

format and number of pages in the printed copy: “10,430

Donated to the Royal Library by Irmelin Eggert Møller in

(33 [changed to 32] 8tav)”. Two types of ink: a more brown-

1958.

ish type for the first two movements and the third move-

25.8x34.8 cm, 3 folios, writing on both sides in pencil,

ment up to p. 19 (b. 22); the remainder as well as the move-

paginated 3-8.

ment number and name are in black ink. Only a few

Paper type: 12 hand-ruled staves.

changes are in Carl Nielsen’s hand. On p. 22 Carl Nielsen

The score has been restored.

has noted the following reference: “X / Sè den / rettede

The fragment, which has neither work title nor movement

Korrektur / X / kan ikke / huske Rettel- / sen.”2 French titles:

name, consists of a total of 65 bars, where the musical

“I / Prèlude” (pp. 1-3), “II / Interméde” (pp. 4-17) and “III /

material must be considered an early version of the Finale;

Finale” (pp. 18-29) added in an unknown hand(?); no

p. 7, second system, has the tempo indication Andante,

metronome markings, only rehearsal letters in the first

changed to Adagio; the time signature is 3/4, and the

movement and at the beginning of the second movement.

instrument names are “Solo / Violin I / II / Viola / Cello /

No tempo markings for the first and third movements.

Basso”. A cross (p. 5, b. 2-3) has been added on a bar line in ink; p. 6 has a considerable number of deletions.

D

Autograph score, fragment of draft.

DK-Kk, CNS 48b(2).

F

Printed parts, Tivoli Symphony Orchestra’s copy.

Donated to the Royal Library by Irmelin Eggert Møller in

Tivoli Symphony Orchestra Music Archives, Copenhagen,

1958.

Sign. 649.

34.8x26.2 cm, 1 unpaginated folio which was once part of a

Wilhelm Hansen, musikforlag, Pl. No.: 10430 (1890 or 1909-

bifolio, with writing on both sides in pencil.

1912).

Paper type: 16 hand-ruled staves.

26.9x17.2 cm, vl. 1 in 2 bifolios, paginated pp. 1-8.

The set of parts, which belonged to the Royal Danish Academy of Music, was used for the concert in Tivoli for

2 “X / See the / corrected proofs / X / cannot / remember the cor- / rection.”

Carl Nielsen Udgaven CN 00009

Carl Nielsen’s 60th birthday on 9th June 1925. A single vl. 1

32

part includes a dynamic marking said to have been added at the request of Carl Nielsen.

There are so many discrepancies between the printing source A2) — for example names of the (C C) and the first edition (A movements, dynamics, and execution markings — that there must have been a proof-reading between A2 and C, which seems to have been lost. This is also suggested in Source C (p. 22), where Carl Nielsen makes a reference to corrected proofs.

Source D, which has many changes compared with A1-2, B) and C, cannot have been used as a the printed sources (A source for A2. The cross in ink does suggest, however, that there was a fair copy of Source D. It is highly probable that Ei and Eii were the draft for an early version of the Finale movement. However, there are A 2, C ) great modulatory differences between the final version (A Eii, which furthermore has an Adagio. The crosses in ink and Ei-E Eii. suggest that there was also a fair copy of Ei-E Source F was used so frequently and has so many additions in pencil that it is impossible to date any of them in more detail. Their relevance to Carl Nielsen’s performance intentions cannot, therefore, be determined with certainty.

In view of this, the reprint from 1909-1912 has been used as the principal source, since there are very few corrections and additions compared with the first edition (1890), and these were probably made with the acceptance of the composer. Later reprints (1925-1939) have no further additions or corrections.

Carl Nielsen Udgaven CN 00009

33

E D I T O R I A L E M E N DA T I O N S A N D A LT E R N A T I V E R E A D I N G S

Bar 85

Part vc. cb.

Comment C (vc.): X Se den rettede Korrektur ‘See corrected proofs’ and (cb.): X Kan ikke huske Rettelsen ‘Cannot remember correction’ ♮ added in margin (CN), notes 1-2: h (A) h (B ) crossed out in ink

86-87

vc. cb.

C:

88

vl.1

92 158-160 162 185 193 206

vl.2 vl.1 vl.1 vl.1 vl.1 tutti

C: notes 1-4: slur crossed out, but later restored; note 5: stacc.

C: notes 1-4: slur; note 5: stacc.

C: b.158 note 3 to b.160 note 2: C: notes 2-3: ten. ♮ B: note 1: b ' 2 A : notes 4-5: no articulation dim. noted inside as in C; A2, B: dim. noted above A 1 , A 2 , B , C:

S U I T E F O R S T R I N G O R C H E S T R A, O P U S 1 Prelude Bar 15-18 31 34 36

Part vl.1,2 va. cb. vl.1 vl.1(b) va.

43

va.

Comment C: cre-scen-do added as in C note 1: trem. added note 1: trem. added in accordance with tremolo slashes note 3: dim. moved from note 4 as in B, C

207

Intermezzo Bar 51-56 51-52

Part vl.1 cb.

60

vl.1

67 88 Bar 114

vl.1 vc. cb.

Part vl.2

127 131 143 149 153

vc. vl.1,2 va. vc. va. vl.1 vl.1

159 162

vl.1 vl.1

165 165-166 180-181 210-216 210-216 211-216

vl.1 cb. vc. cb. vl.1

214-216 226

vc. cb. vc. cb.

Comment di-mi-nu-en-do added as in C added as in C and by analogy with bb.211-212 notes 4-5: stacc. added by analogy with b.220 note 3: marc. added by analogy with b.227 arco added Comment added as in C and by analogy with b.112 (va.) pizz. added C: 1st crotchet: beginning of div. added notes 2-3: flag. added by analogy with b.83 note 2: flag. added by analogy with b.87; A1, A2, C: note 3: flag.; C: notes 2-3: flag. div. added note 2: added by analogy with b.2; C: note 1: emended to added by analogy with b.5 0 added by analogy with bb.5-6 C: double bar line di-mi-nu-en-do added as in C di-mi-nu-en-do added by analogy with C (vc.) di-mi-nu-en-do added as in C; A1, A2 (b.211): dim., (bb.213-216): dim.--A1, A2, C: dim.--note 2: 0 added by analogy with b.66

F

p Z

v

fp

Finale Bar 9 11-13

21 34 85

Part vl.2 vl.1

Comment C: notes 1-6: sextuplets F: musician’s note indicating that CN wanted a crescendo to begin at note 4 and lead to at b.13 note 1 C: ♮ ♯ note g ' emended to g ' C: notes 1-4: slur changed to notes 1-3 in pencil; note 5: stacc.

c

va. va.

ff

Carl Nielsen Udgaven CN 00009

34

C

WH 32742 ISBN 978-87-598-3707-8